Amsterdam

Well not really.  Technically we’re in Groningen, which is two hours away.  For Eurosonic-Noorderslag.

Funny how you can get in a tube and end up halfway across the world.  You’re reading your domestic papers and suddenly you emerge through the fog into a foreign land.

And it is foggy.  Reminds me of nothing so much as driving on I-91 from Connecticut to Massachusetts.  At this exact time of year.  During the January thaw.  When it’s raining and miserable.  I like that.  It’s romantic.  It never rains in Southern California, but when it does it pours, but that’s pretty rare.  But on the east coast, there’s all kinds of weather.  The prognosticators do their best, but the temperature could drop twenty degrees in a matter of minutes and what was supposed to be rain could be snow and vice versa.

What do I know about Amsterdam…

It was funny driving down the highway, so much comes back.  Maybe not enough hard core facts, but the process of learning.  All those days spent in school, staring out the window at bleak days like these.

They told us there were windmills.

And there were a plethora of them.  I only saw one old school model, but there were endless towers with the big turbine blades.  I always thought these messed up the landscape, but what’s worse, this blight or the greenhouse gases that are gonna ruin the ozone layer with the end result we’ll be burnt up?

And speaking of fossil fuels…  I was stunned how small the cars were.  I mean really tiny.  Kind of like a cartoon.  Hard to rationalize those behemoths we drive in the U.S.  We’ve got to ride high, in our SUVs, because…  Because?  Because we’re into image and fashion and..?

And the driver told us the endless plain upon which we were coasting used to be under water.  Nigh near twenty years ago.  It was all coming back, how the Netherlands was beneath sea level.  That’s the story of the dikes, right?

But I was disappointed the canals weren’t frozen.  That was one of the big books growing up, "Hans Brinker or the Silver Skates".  I wanted to lace up a pair of blades and go cruising through town under my own power.  Alas, that will not happen.  Although the driver said the canals were frozen back in December, but there was too much snow atop the ice, making skating both daunting and unsafe.

But speaking of traveling under your own power, I’ve never seen so many bicycles as I’ve seen in Groningen.  Supposedly it’s a student town, but I saw gray-haired ladies pedaling in the rain.  I didn’t get the impression their mode of transportation was purely economic, that they couldn’t afford cars, but that it was more practical, you could go anywhere you wanted and park wherever you wanted and you did save the cost of fuel.

And what always stuns me in Europe is the electronic signs at the petrol stations.  Seems much more efficient, they can change the price effortlessly.  I know, I know, I said "petrol".  But I love how they use different words for the same things.  Like the baggage carousel was the "belt".  And when you emerged from the baggage area, the train was right there.  If only this was the case at LAX, if this was only so in so many U.S. metropolises.  But no, we’re entitled to drive our cars and get stuck in traffic and…

I was reading a fascinating book on the plane.  I almost wanted the flight to go on ten more hours so I could keep reading.  That’s what’s great about a good book, it calls to you, it waits for you, it’s there to satisfy you.  But every good book ends.  You can play your records endlessly, but after one time through a book it’s just not the same.

And the book I’m reading is entitled "Super Sad True Love Story: A Novel".  By Gary Shteyngart.  I downloaded it to my Kindle because I just read too many good things about it, even though I didn’t like the blurb and I don’t like books set in the future.

What I love about books is most people don’t read ’em.  So those inflamed by reality don’t carp, because they’re out of the loop.  Yes, they’re editing Mark Twain, but most books go unscathed.  You open them up and you see truth and you’re positively thrilled, you feel like you’re not alone, that your whole life makes sense.

And the future in "Super Sad True Love Story: A Novel" is not that distant.  Everybody’s got an iPhone-type device that allows you to call up anybody’s history.  We’re almost there, privacy keeps eroding.  And all the companies have merged, the airline is called UnitedContinentalDeltamerican and the United States is at war with Venezuela and it’s trying to recapture its glory.  Yes, the mantra of United States citizens is it’s the greatest country in the world, and don’t you ever deny it.  It’s like these "patriots" believe everybody outside the country’s borders lives in a hovel and survives on gruel.  But so many world citizens are living just fine.  And in so many other countries things are in certain ways better.  But at least by traveling, you get insight, your horizons are broadened, just like going to elementary school and learning about windmills and…

How come we grow up with facts inserted into our brains and we end up somnambulant, chock full of irrelevancies we learned on TV?  It’s like people reach their third decade and stop learning.  Like learning is for losers.

But learning keeps you young.  And alive.  And wise.

So we’re resting up in anticipation of tonight’s inaugural dinner.

I don’t know what to expect.  But this I know.  Music is the universal language.  And if you write a hit tune, you can visit lands far beyond your normal scope.  Because people want to hear you, they want to touch you, they want to get closer to you.

And it was not so long ago that the music dominating the world was American.  But no longer.  Music has become Balkanized.  It’s different in every territory.  The days of making it worldwide have faded.  Not for lack of trying.  But marketing doesn’t sell great music so much as the music itself.

You may not be a banker.  You may not have even gone to college.  But if you can write and play the whole world is open to you.  Get crackin’!

Hot Stuff

From Keith Forsey
Subject: Re: More Johnny Weir

shitty mix

Whew!

Sittin’ here eatin’ my heart out waitin’
Waitin’ for some lover to call
Dialed about a thousand numbers lately
Almost rang the phone off the wall

While we were listening to Blondie, singing "Hanging On The Telephone", on the stations we wouldn’t listen to was a phenomenon.  Disco. Led by its queen, Donna Summer.

It was easy to ignore her.  Until "Bad Girls".  Yes, suddenly Ms. Summer went rock.  Better than all the bands on AOR.  Sure, there were disco beats, but oh the POWER!

Four sides.  All playable.  There was the title track, the slow-burner "Dim All The Lights" and the closer "Sunset People".

And the slam dunk opener "Hot Stuff".  Composed by Pete Bellotte, Harold Faltermeyer and Keith Forsey.

The Stones haven’t had an opener this good since "Miss You", and that predates "Hot Stuff".  "Hot Stuff" blows out of the speakers and in walks this woman strutting her stuff…

This was Donna Summer’s peak.

But it wasn’t Keith Forsey’s.  Who had previously been known as a drummer, hell, he beats the skins on the "Bad Girls" album.

Keith struck gold again, make that platinum, with "Flashdance….What A Feeling".  Lady GaGa may wear her outfits, but after this movie hit and the track dominated the airwaves every pre-menopausal woman cut the neck out of her sweatshirt and showed her shoulder.  It happened just that fast.

But Keith didn’t only do disco.  He cowrote Simple Minds’ iconic hit, "Don’t You (Forget About Me)".

Never mind emerging completely from Giorgio Moroder’s shadow and having huge hits with Billy Idol as a producer.

And let’s not forget cowriting Glenn Frey’s "Heat Is On" from "Beverly Hills Cop".

People will still be listening to Keith Forsey’s music long after the ice has melted beneath Johnny Weir’s skates.

I had no idea he was a reader.

I love my life.

Re-Johnny Weir’s Single

Johnny Weir’s single is at #22 in the iTunes Japan Dance chart, and not charting at all on main chart.

Keith Cahoon
Hotwire Japan

What, they think we don’t have the Internet?

Then again, the right wingers spout inaccuracies and even though they’re debunked online they end up permeating the public consciousness.

But music ain’t politics.

You’ve got two roads.  You can lie, cheat and steal your way to the top, or you can be honest and trustworthy.  Generally speaking, those who employ duplicity reign for a short time and those who are honest last.  But making it if you’re honest frequently takes so much longer.

Let’s just put it this way…  I’m thrilled the Net allows us to out your dirty laundry, allows us to print the news the mainstream in bed with the usual suspects won’t.  Lie at your peril.  Because there are legions of people just like me who are out to cry foul.  We’re playing by the rules, and if it means we’re not ultimately rich and wealthy, we don’t care.  We want to sleep at night.  And we’re sick of a society based on falsehoods, where it’s about spin instead of fact.

The days of hype are diminishing.  It might get you noticed, but that doesn’t mean you’re going to sustain.

So, if you’re lying about your age, your success…you’d better scrub your identity from the Web or you’re gonna be outed.  And then, to paraphrase Bob Dylan, how’s it gonna feel?  To be without a home, completely known, a rolling stone?

That’s going downhill.

Bob-

I produced and co-wrote Johnny’s single.  I’ve been following everything that’s going on today.

If there’s anything I know about Johnny Weir, it’s that he’s not a liar.

Someone sent him a link to amazon.jp, where actually the song actually was #1.

If you go to the amazon.jp mp3 page.  You will find it currently to be #2.

http://www.amazon.co.jp/MP3-ダウンロード-音楽配信-DRMフリー/b/ref=sa_menu_dmusic1?ie=UTF8&node=2128134051

Sincerely,

Lucian Piane

The Canadian Copyright Settlement

The major labels steal.  That’s their business model.  Do you think those interminable contracts are about protecting your rights?  What are the odds the same team is gonna be involved when you finally have some success and start questioning your royalty statements?  Which is why in the nineties, when recorded music revenues were still high, lawyers demanded huge advances, equal to projected royalties, because they didn’t trust the labels.  But now that revenues are down, so are advances and the artist is getting screwed.

It’s like prostitution.  You’re nowhere and the big bad pimp is giving you a chance at a better life.  And when you’ve finally realized what a bad deal you’ve made, it’s too late.  You’re used goods, indentured to the man who moved you one step ahead, but off the radar screen.

Only sign a major label deal if:

1. You make radio-driven hit music and your career is dependent upon it.  The majors control radio, you can’t have a hit without them.  But radio means ever less, and the formats other than Top Forty are also-rans paying ever-decreasing dividends.

If you make a deal with a major label:

1. Try to make the term as short as possible.

2. Delineate clearly in the document what revenues are per digital download and digital stream.  That’s a new area, write off CD accounting, that’s like trying to change the stats in a baseball book.  Digital data is clear, it’s harder to fudge, make sure the label gives you access to it.

3. Know that you’re selling your soul for fame.  They’re investing in you for their profit, all you’re gonna get is notoriety and some money, certainly not all you’re entitled to.  Fame pays dividends in personal appearances and endorsements.  Try to keep these out of the deal. Because then they’re stealing from you in these areas too.

4. Try to have as much success independently as possible before you sign.  It gives you leverage, the deal will be less heinous, but you’ll still get screwed.

You can make it without the major.

1. You can sell via Tunecore or Bandcamp.  They’re both more trustworthy than the label.

2. You can market online for free.

3. You can do whatever you want artistically, record and release every day or every ten years, it’s your choice.

4. Agents make deals with acts that can sell tickets.  Sell tickets, you get representation.  They don’t care if you’re signed to the major label.

5. Fans are your label.  They’re your sugar daddy.  They’ll keep you alive, they’ll keep you going.  Build a relationship with them by giving them attention and free goods (fans buy the most product, who do you think is buying the $250 packages on Topspin?)  The odds of every one of your fans dropping you the same day are nonexistent.  The odds of your label dropping you are…very high.  But they’ll only do it if you’ve got no success.  If you make the label money, they’ll torture you, consider yourself in prison, one where the guards roam at will and get fat and you’re locked in a cell eating gruel.

Where does this leave the major labels?

This disingenuous model won’t survive.  Google Analytics is detailed and free and you can’t get an accurate report on the music you’ve sold, never mind get paid?  The labels are isolating themselves, they’ve got a bunker mentality, it didn’t work well for Louis XVI and it won’t work well for them.

If labels want to survive, they need transparency.  And deals must be fair.

But if deals are fair how will the execs live such lavish lifestyles?

They’re living those lifestyles on your money.  Why is it the execs are always richer than the acts?  Without the acts they’re nothing!

We could be switching to a paradigm where the acts rule, where the acts control the game.

Then again, the acts tend to be like those willing teenage girls in Eastern Europe, without a pot to piss in, signing away their lives in the dream of something better, because they know the path they’re on is drudgery.

Which is why the best and the brightest are not in music.  They’re in finance or tech.  Where the rewards are greater, where you’ve got a better chance of being in control of your own destiny.

How do we solve indentured slavery prostitution?

I’m not sure we ever can, not without more economic opportunity for these girls to begin with.

But at least people are debating this issue, they’re trying to help.

Meanwhile, the labels keep bitching and the press and the government eats it up.  Saying they’re protecting the artist.  Such horseshit.

If you don’t know the labels steal then you’re not in this business.  But the problem is not so much them as it is you.  No one is forcing you to sign on the dotted line.  But you think if your record comes out on Universal or Warner Brothers, you’ve made it.  But there’s no label on a digital download, and just because a product is in the supermarket that doesn’t mean it sells.  And today the supermarket is worldwide, stuffed with tons of goodies.  The avenue to success is not making a deal with the devil, but being really good.  Because if you’re really good the Net can focus attention on you in a heartbeat.  But this usually happens years after you’ve started, when you’re finally in the groove, when you’re worthy of the attention, long after the major label would have dropped you and you would have quit in frustration.